But not alone the theatres objected to the competition of the puppets. One may read in _The Spectator, XVI_, that _young Mr. Powell_ made his show a veritable thorn in the flesh of the clergy. It was stationed in Covent Garden, opposite the Cathedral of St. Paul, and Powell proceeded to use the church bell as a summons to his performances, luring away worshippers from the very door of the church. Finally the sexton was impelled to remonstrate. “I find my congregation taking the warning of my bell, morning and evening, to go to a puppet show set forth by one Powell, under the Piazzas, etc., etc. I desire you would lay this before the world, that Punchinello may choose an hour less canonical. As things are now, Mr. Powell has a full congregation while we have a very thin house.” This same Powell was the most successful motion maker of his day. He originated the _Universal Deluge_ in which Noah and his family enter the ark, accompanied by all the animals, two and two. This show was given fifty-two consecutive nights, and was repeated two centuries later by the Prandi brothers in Florence. Powell had booths in London, Bath and Oxford, and played to most fashionable audiences. _The Tatler_ and _The Spectator_ mention him frequently. It was his Punch who sat on the Queen of Sheba’s lap, who danced with Judy on the Ark, and made the famous remark to Noah concerning the weather. He gave numerous religious plays, such as the “Opera of Susannah or Innocence Betrayed,--which will be exhibited next week with a new pair of Elders.” In 1713 he presented _Venus and Adonis or The Triumphs of Love_, a mock opera. As another attraction to his shows, the ingenious marionettist invented a fashion model, the little puppet, _Lady Jane_, who made a monthly appearance, bringing the latest styles from Paris. The ladies flocked to the puppets when she was announced on the bills.